Miguel Berrocal Opus 250-259 - Los Almogรกvares
on the front page, view of the 10 Almogávares in Plaza de la Constitución Málaga, 2008
Index
FUNDACIÓN ESCULTOR BERROCAL PARA LAS ARTES Calle Olivos Hojiblancos 15, 29310, Villanueva de Algaidas, Málaga telephone +34 680 56 35 78 email fundacion@berrocal.net web www.berrocal.net
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Los 10 Almogávares - Technical Sheets
2
History of a Piece
15
Critical Quote - Jean Dypréau: Los Almogávares
17
Related Works
19
Bibliography
28
Exhibition Berrocal Guerreros Y Toreros
29
Proposal of an Exhibitive Nucleus
31
Miguel Berrocal: Biography
36
Selected Public Collections
40
Awards
41
Fundación Escultor Berrocal para las Artes
42
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 250 Roger de Flor - Almogรกvar I year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 76 x 122 x 55 cm Bronze molted with lost wax cast. 11 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 251 Ramon Muntaner - Almogรกvar II year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 82 x 118 x 49 cm. Bronze molted with lost wax cast. 10 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
4
5
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 252 Bernardo de Rocafort - Almogรกvar III year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 73 x 92 x 39 cm Bronze molted with lost wax cast. 10 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
6
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 253 Sancho de Oros - Almogรกvar IV year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 63 x 101 x 45 cm Bronze molted with lost wax cast. 10 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
7
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 254 Roger de Lauria - Almogรกvar V year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 60 x 114 x 32 cm Bronze molted with lost wax cast. 11 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
8
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 255 Berenguer de Entenza - Almogรกvar VI year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 76 x 105 x 43 cm Bronze molted with lost wax cast. 17 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
9
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 256 Corbaran de Alet - Almogรกvar VII year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 67 x 109 x 44 cm Bronze molted with lost wax cast. 15 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
10
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 257 Ximenes de Arenos - Almogรกvar VIII year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 54 x 80 x 35 cm Bronze molted with lost wax cast. 11 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
11
12
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 258 Berenguer de Rondor - Almogรกvar IX year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 75 x 120 x 45 cm Bronze molted with lost wax cast. 15 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
13
Miguel Berrocal
| Opus 250-259 - Los Almogรกvares | 1981-83
Opus 259 Guillen de Tous - Almogรกvar X year created in dimensions media elements caracteristics exemplar
1981-83 Negrar, Verona - Italy 65 x 91 x 42 cm Bronze molted with lost wax cast. 14 Dismountable
1 wood exemplar on a cast steel anvil (I/I). 6 exemplars in polished bronze/lost wax cast (1/6 a 6/6) 4 Artist proofs (E.A. I/IV a E.A.IV/IV)
14
Miguel Berrocal
| History of a Piece | 1981-83
Opus 250-259 - Los Almogávares
History of a Piece
[…In 1975 Cristina and I travelled to the Belgian Ardennes, where I made an important discovery: in some dismantled forges I found and bought old anvils, which would later be the origin of a series of ten “Desperta Ferro” and “Almogavares” inspired in the epic poem of the latter: they are ten works of large size that I did not finish until 1984, when they were presented in my first anthological exhibit at the Velázquez Palace in Madrid.
Anvils of Opus 254 - Almogávar V, Opus 247 - Almogávar VIII, Opus 241 - Almogávar II, Opus 245 - Almogávar VI
15
Miguel Berrocal
| History of a Piece | 1981-83
The Almogavares were Aragonese, Catalan and Balearic warriors. When the borders of The Reconquista moved towards the south, the King of Aragón sent them to Constantinople to counteract the Turks. Being army people, lively and dangerous they could delay the conquest of this city in approximately two hundred years. Between 1302 and 1311 they took possession of almost all Greece, establishing their own counties and duchies, until they disappeared in internal conflicts. “Desperta Ferro” was the Almogavares’ cry of war. It was said before battle, while they banged their swords against stones to “wake up” the iron by producing sparks, and, in that way, fill their enemies with fear. This type of war performance had already been used by Hannibal in the Battle of Cannet. From the anvils I had found in the Ardennes, I made some wooden mock-ups of about 20 centimetres, to be able to transport and move them easily. Looking at them many times, and thinking what I was going to do with those anvils of solid iron, it came to my spirit that famous war cry, and because of that reason I call those mock-ups “Desperta Ferro” and the sculptures I made with those incredibly heavy and original anvils, weighting between 300 and 400 kilograms each, were called Almogavares…]. (Excerpt from Berrocal’s unedited Memoirs written between 2005 and 2006).
Miguel Berrocal and Berenguer de Entenza Almogávar VI
16
Miguel Berrocal
| Critical Quote - Jean Dypréau: Los Almogávares | 1983
Opus 250-259 - Los Almogávares
Critical Quote
Jean Dypréau: Los Almogávares Opus 250 Roger de Flor Almogávar I acuarela sobre papel 50 x 70 cm
Opus 250 Roger de Flor Almogávar I wood exemplar
Two important events have guided the sculptor in his elaboration of these ten major works of art, each of which evokes the exploits and destiny of a warlord. The first was the decision to adopt an object to include in each of the ten differently assembled subjects. While visiting the foundry workshop in the Ardennes, accompanied by a friend — Jean Delogne, whose fame is widespread in the realms of garden architecture, the sculptor was struck by the beauty and plastic presence of some old anvils which had been used in the working of iron during past decades. Together they managed to acquire a number of these anvils and, having shared them, Berrocal decided to integrate those most suitable to his needs into the work which he was about to begin. The second was the discovery of a tale that has its origin in the Aragorn Province, in Spain and which would be illustrated in the artist’s creations. Legend is at times surpassed, if not equalled, by historical reality. Such was the case for the company of “Almogávares”, one of whose leaders, Roger de Flor, was promoted to the rank of Caesar and subsequently went as far as establishing a Spanish Duchy in Athens. In a study written at the beginning of this century, a French histo-
rian, Gustave Schlumberger, gave a balanced and precise account of the expeditions embarked upon by these “Catalanian soldiers of fortune”, and told of how, during the period 1302.-11, they extended their influence from Constantinople to the confines of Anatolia Constantinople to the confines of Anatolia. “There is no adventure to be found in the often prestigious annals of the Eastern Middle Ages”, wrote the author, “that is as unparalleled, astonishing, dramatic and fascinating as that of the “Golden Fleece”, this modern Anabasis, this exodus of an entire population of plunderers, born on the fresh foothills of the Pyrenees, towards the ancient shores of Bithynia, Troade, lonia, Thrace, Macedonia, Thessalia and Attica”... (...). One of the ten condottieri here portrayed, Ramon Muntaner, revealed himself not only as an able diplomat with his “Compagnies”, but also as their remarkable chronicler, and so it is to his testimony, more than any other, which we must have recourse. From all this there was a great temptation to enter into the details of such anecdotal references and to imagine their effect on the development of Berrocal’s creations. However, it seemed to me more important to pay close attention to the sculptor’s gesture, its meaning, the symbolism it carries, and to the poetry which it gives us a glimpse of that which is given form in certain lines of Ronsard’s verse and, once hammered out, is taken up again as an Epigraph. 17
Miguel Berrocal
The warrior, through the blows which he gives and receives, is at once the hammer and the anvil. To paraphrase Stendhal, he must in fact “become the hammer to avoid the anvil”. Such is the case for the artist and sculptor in particular. At the most elemental level, “to hammer and rehammer on the anvil”, reminds the tradesman of his craft, his dialogue with the material, working it, correcting it, working it a second time, thereby obliging it to conform with his plans and intentions. The mark of the hammer on the anvil bears witness to the will of the sculptor-ironmonger-blacksmith. Here, as a motto in the centre of this twice hammered Opus will be the war cry of conquerors : “desperta ferro!” (iron awake!). We have already seen how Berrocal, inspired by his vocation in puzzle sculptures, has put his virtuosity to use in producing brilliantly styled creations, and how he has also demanded from himself a rhetorical precision such as to bestow upon his works a dimension and impact which gravitates them towards a more ambitious end: to berrocalise our perception of forms. Today the demands for a greater plasticity in his torsos has brought with it a conceptual research into the unit which takes precedence over the basic temptation of dispersion and fragmentation. Consequently the organisation of the structures tends to be reduced to the essential, the segments to be functional, and the technical skill of assemblage to be centred upon organic tensions. In this way the sculptor is offered a means to revive the tradition of great western statuary, to renew its form, structure and meanings. Works of maturity, these busts witness both a return to basics and the realisation of a new and daring enterprise.
extract from: Jean Dypréau Brussels, October 1983
| Critical Quote - Jean Dypréau: Los Almogávares | 1983
18
Miguel Berrocal
| Related Works | 1979-82
Opus 250-259 - Los Almogávares
Related Works
From the anvils I had found in the Ardennes, I made some wooden mock-ups of about 20 centimetres, to be able to transport and move them easily. Looking at them many times, and thinking what I was going to do with those anvils of solid iron, it came to my spirit that famous war cry, and because of that reason I call those mock-ups “Desperta Ferro” and the sculptures I made with those incredibly heavy and original anvils, weighting between 300 and 400 kilograms each, were called Almogavares…]. (Excerpt from Berrocal’s unedited Memoirs written between 2005 and 2006).
Opus 240, DESPERTA FERRO 1, assembled and desassembled. Miguel Berrocal in his studio in Negrar working on the first wood model of Opus 249 DESPERTA FERRO 10.
Miguel Berrocal
| Desperta Ferro | 1979-1982
Opus 250-259 - Los Almogávares
Desperto Ferro 1979-1982
Opus 240 Desperta Ferro 1 14,5 x 21,6 x 9,5 cm
Opus 241 Desperta Ferro 2 14,1 x 20 x 8,5 cm
Opus 242 Desperta Ferro 3 15,6 x 21 x 9 cm
Opus 243 Desperta Ferro 4 15 x 24,1 x 10,5 cm
Opus 244 Desperta Ferro 5 15 x 27 x 9,6 cm
Opus 245 Desperta Ferro 6 16 x 28,8 x 10 cm
Opus 246 Desperta Ferro 7 14,2 x 22 x 9,3 cm
Opus 247 Desperta Ferro 8 14,5 x 21 x 9 cm
Opus 248 Desperta Ferro 9 15,3 x 24 x 9,3 cm
Opus 249 Desperta Ferro 10 16,2 x 22 x 10 cm
“The concept of Monumentality doesn’t necessarily depend on the dimension” Miguel Berrocal
20
Miguel Berrocal
| Reflections about the Colour and the Shape | 1984
Refletions about the Colour and the Shape
Almogavar IV Sancho de Oros Watercolour on paper 1984 50 x 70 cm
Almogavar VI Corbaran de Alet Collage. Watercolour on cut-out paper 1984 50 x 70 cm
21
Miguel Berrocal
| Reflections about the Colour and the Shape | 1984
Watercolour on cut-out paper 1984 50 x 70 cm
22
Miguel Berrocal
| Codex Berrocaliensis - Graphics of the Philosophy
| 1986
Codex Berrocaliensis - Graphics of the Philosophy
I have been interessed in void as negative volume from the beginning. Isn’t void also real? Why going around shapes without considering the space left between them? What if emptiness was the soul rather than the shadow of shapes?
Empty space is alive just like filled space. Pay attention to it!
1986 Watercolour on paper 44,5 x 33 cm
1986 Watercolour on paper 44,5 x 33 cm
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Miguel Berrocal
Where do ideas come from? Every path is valid although there may be many wrong...
| Codex Berrocallensis - Graphics of the Philosophy
| 1986
Three dimensions. One figured for painting. How many for sculpture? Isn’t there in this last one four or more dimensions?
Leonard once said: painting is a “mental thing”. Was he forgetting all the other creative activities in which he was illustriously involved with?Or is it us that haven’t fully understood it? Platan had said even before: “God always makes geometry”. My first sculptures were born as abstract experiences and are often caused formally by the “ready-made”: the object’s metamorphosis.
1986 Watercolour on paper 44,5 x 33 cm
1986 Watercolour on paper 44,5 x 33 cm
24
Miguel Berrocal
I have been interessed in the ambivalence of images since the beginning of my creative activity, this I had not noticed when I was a painter, even though I was interessed in collage.
| 1986
Calligraphy is also a pretext for studying and penetrating in the ambivalent semanthic meaning of shapes. From the sign to the volume and the shape there’s not a great distance: it’s the third dimension.
Through the “objet trouvé” and its metamorphosis I became aware, in another way, of the plastic values hidden in things.
1986 Watercolour on paper 44,5 x 33 cm
| Codex Berrocaliensis - Graphics of the Philosophy
A question: maybe colour is greatly forgotten in sculpture.
1986 Watercolour on paper 44,5 x 33 cm
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Miguel Berrocal
| The Lenticular Panels | 2008
The Lenticular Panels
2
1
The lenticular technology permits to “condense” in just one panel a great amount of images. Each image is visible acording to distinct angles depending on the position where the viewer is. LENTICULAR
1 3
2
One can obtain many effects with this technology, though the application used here is for a visualisation of the sculptures desassembling sequence.
This communicative instrument had an extraordinary success in the exhibition’s communication and, besides the 10 120x80 cm Almogavares panels, almost in real scale, lenticular postcards where produced as merchandising. The effect is better understood in the video or on the web page www.berrocal.net/guerrerosytoreros
Thanks to the lenticular panels, the exhibition viewers, by simply walking, can visualise the most invisible, hidden part of berrocal’s work, the desassembling.
26
Miguel Berrocal
| The Lenticular Panels | 2008
27
Miguel Berrocal
| Bibliography | 2008
opus 250-259 - Los Almogávares
Bibliography
BERROCAL. Galerie Isy Brachot, Bruselas, 1984. Cátalogo de la exposición en la Galerie Isy Brachot, Bruselas, 18 de enero 25 de febrero 1984.
BERROCAL. IVAM Institut Valencià d’Art Modern, Valencia, 2002. Cátalogo de la exposición en el IVAM, Valencia, 23 julio – 20 octubre 2002. ISBN 84-482-3200-3
ANTOLOGICA BERROCAL (1955-1984). Ministerio de Cultura, Madrid, 1984. Páginas 196-217, 465-266. Cátalogo de la exposición en el Palacio de Velázquez, Parque del Retiro, Madrid, octubre – diciembre 1984. ISBN 84-85938-18-6
BERROCAL. Imparce Barcelona, Barcelona, 2004. Páginas 66-85. Cátalogo de la exposición en el Jardí Botànic de Caixa Girona, Cap Roig, Calella de Palafrugell, junio - septiembre 2004. ISBN 84-89632-05-7
BERROCAL, JEAN-LOUIS FERRIER. Éditions De La Différence, Paris, 1989. Páginas 199-217 ISBN 2-7291-0467-4.
BERROCAL, UN CLÁSICO DE LA MODERNIDAD. Ibercaja, Zaragoza, 2005. Páginas 46-55. Cátalogo de la exposición en el Centro de Exposiciones y Congresos, Zaragoza, 12 de mayo - 25 de junio 2005. ISBN 84-8324-205-2
BERROCAL. Gallery Guy Pieters, Knokke-Zoute, Bélgica, 1990. Cátalogo de la exposición en la Gallery Guy Pieters. BERROCAL Centro de Arte Moderno Ciudad de Oviedo,1999. Página 106. ISBN 84-605-9596-X BERROCAL INTERKOLUMNIE. Museion Museum für Moderne Kunst, Bozen, 1993. Cátalogo de la exposición en el Museion, Museo d’Arte Moderna, Bolzano, Italia, 15 septiembre – 31 octubre 1993.
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Miguel Berrocal
| Exhibition Berrocal: Guerreros y Toreros | 2008
opus 250-259 - Los Almogávares
Exhibition Berrocal Guerreros Y Toreros
Berrocal, Guerreros y Toreros is an itinerary exhibition of large scale works at open air. The selected works focus on the 10 Almogavares nucleus, adding other 2 torsos related to the theme of Bullfighting (The Diestro and the Torso con Luces). The exhibition has a didactic character and the clear intention to draw the public and to reveal them the most invisible aspects, but fundamental of the great spanish artist Miguel Berrocal’s sculpture. The exhibition was sponsored by the Unicaja Foundation and represents the first result of the deal signed with that Foundation in the beginning of 2008. view from the Plaza de la Constitución with the 10 Almogavares, the kiosk and the informative panels.
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Miguel Berrocal
PRODUCTION Fundación Unicaja Fundación Escultor Berrocal para las Artes CURATOR Cristina de Braganza EXHIBIT DESIGN Antonio Álvarez Gil y Salvador García García Beltrán Berrocal y Sajonia Coburgo WEB PAGE http://www.berrocal.net/guerrerosytoreros CATALOG http://tinyurl.com/berrocal-guerrerosytoreros
INFORMACION fundacion@berrocal.net WORKS - opus 250-259 los 10 Almogavares - opus 116 bis El Diestro - opus 441 Torso de Luces EXHIBITION ELEMENTS - 10 lenticular panels - 10 large informative panels around 5mx2m - a kiosk for catalogs and merchandising sell - a catalog of 84 pages - a web page
| Exhibition Berrocal: Guerreros y Toreros | 2008
EXHIBITIONS PLACES - Málaga, Plaza de la Constitución 9th June - 27th July 2008 - Sevilla, Plaza Nueva 4th February - 26th March 2009 - Cadiz, Castillo de Santa Catalina 4th September - 30th October 2009
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Miguel Berrocal
| Proposal of an Exhibitive Nucleus
opus 250-259 - Los Almogávares
Proposal of an Exhibitive Nucleus
One of the most constant artistic reflexions of Miguel Berrocal’s work is the beauty of the fragment: the loose elements have their own beauty even when separated.
Opus 250 a 259 Almogávares, 1984 exhibited in 1985 at Palau Meca of Barcelona
Each one of them, independent of each other, have their own sculptural strength. Therefore, the ideal way to display a Berrocal’s dismountable sculpture would be to show a mounted and
a dismounted piece together in order to appreciate the mechanism and the beauty within each element itself.
31
Miguel Berrocal
| Proposal of an Exhibitive Nucleus
El núcleo temático sobre los Almogávares es un conjunto orgánico que profundiza sobre una única y determinada forma escultórica, y se presentaría de la siguiente forma: - a mounted sculpture - together with a dismounted sculpture - a multimedia video support which explains the sculpture’s creative process, its production, the artistic context, and a desassembling animation. - Graphic supports and a serie of 10 lenticular images - an interactive section in which the visitor can experience the live desassembling. The Almogavares offer innumerous possibilities to expand this concept. Beside the 10 torsos, great and imponent in its whole, there are also smaller size versions, the multiples family called Desperta Ferro. Eventually the nucleus can foresee as well objects for the museum’s shop merchandising.
Technical drawing of opus 251 Ramon Muntaner - Almogávar II Details of the desassembling of opus 254- Roger de Lauria Almogavar V at every element that is taken apart a new sculpture is unveiled
32
Miguel Berrocal
| Proposal of an Exhibitive Nucleus
Interactive area of the sculptures desassembling
Jardines Picasso, Málaga, 1984
In this section of the Museum the visitors intertwine with the sculpture, putting it together and taking it appart themselves. Berrocal’s sculptures don’t exist just to contemplate, but to interact, to touch, to use, to admire with the mind and the body. This is not a mere contemplation museum, but an active aesthetic appropriation museum. Normally the aesthetic appropriation of a plastic work involves the visual contemplation which, on one hand, can provide us with a magnificent and disarming catharsis or, on the other hand, leave us completely indifferent. Moreover, the effect produced in us isn’t completely predictable, it depends on several and abstract variables: if you are able to match the place, the environment, your personal state, the work and other circumstances by mysterious reasons, then you just might be lucky enough to experience one of these magical moments, in which you melt, your walls don’t restrict you any longer and you float away in that wonder. Berrocal’s sculpture requires a different way of relation with it: not only with the eyes but also actively with the mind; one must ponder on the invisible intern form of the pieces so as to understand the exterior. Berrocal’s sculpture proposes therefore an aesthetic appropriation that can be reached with its use, with the mental projection of the sculpture’s intern morphology, through 33
Miguel Berrocal
| Propuesta of an Exhibitive Nucleus
Opus 250 Roger de Flor Almogávar I wood exemplar
the manipulation and the tactile discovery; the sculptures must be as well seen inside, it’s mandatory its desassembling so as to have a glimpse of what the artist was thinking at the moment of conception. The available sculptures for manipulation could be the originals or, for safety mesures, resin reproductions. This activity could be developed in a specific
area, available through booking; here the visitor would face the playful side of Berrocal’s sculptures, assembling and disassembling his works. This section could be adapted to didactic laboratories for children and students. Desassembling demonstration sessions can be programmed for a wider public, or for groups that
prefer to watch instead of trying themselves. It must be understood that the first option, which involves the live assembling and desassembling process, will be the first to be offered to the visitants.
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Miguel Berrocal
Opus 254, Almogรกvar V, 1981-1983 Roger de Lauria 60 x 114 x 32 cm Wood and iron, desassembled, 11 elements, frontal and section view
| Proposal of an Exhibitive Nucleus
35
Miguel Berrocal
| Miguel Berrocal: Biography | 1933-2006
MIGUEL BERROCAL: BIOGRAPHY
1933 Miguel Ortiz Berrocal was born on 28 September at Villanueva de Algaidas, in the province of Malaga, in Spain. 1943-51 At a very early age he shows a vocation for art and research. He makes his own toys with recycled material, draws, and paints with colours that he prepares himself. He completes his education in Madrid. A fundamental experience is his first visit to the Prado, to which he returns regularly. He attends the Academia de Bellas Artes de San Fernando and the Escuela de Artes Graficas, and goes to evening classes at the Escuela de Artes y Oficios, where the sculptor Ángel Ferrant becomes his teacher and his friend. 1952-53 He enrols at the Faculty of Exact Sciences to prepare for the entrance examination for Architecture. He becomes particularly interested in analytical geometry, a decisive choice that subsequently stimulates his artistic creation. His first exhibition takes place in Madrid at the Galería Xagra, where he shows drawings of people and landscapes of Algaidas and Madrid, signing with his paternal surname, Ortiz. He is awarded a grant to study in Italy. After visiting the scenes of Roman civilisation, with which he is familiar only through his classical studies, he lives in Rome for several months. There, for the first time, he discovers the work of Picasso—prohibited in Spain at the time—in a major exhibition at the Galleria Nazionale d’Arte Moderna. 1954 He goes back to Spain to do his military service. He returns to the Faculty of Exact Sciences and resumes his drawing and sculpture classes. He finds his friend Ferrant, who encourages him and stimulates him to work. He is invited to take part in the XXVII Biennale di Venezia, where he exhibits his drawings in the Spanish Pavilion, still signing as Ortiz. 1955-56 Personal exhibitions in Seville and Jerez de la Frontera. He takes part in various group exhibitions: at the Palais de l’UNESCO in Paris, the Bienal Hispanoamericana in Barcelona, Arte Joven in San Sebastián, and others. The award of a grant by the Institut Français in Madrid enables him to travel to Paris, where he continues his activity as a painter, plunging into the stimulating atmosphere that the city offers him. He frequently sees the sculptors Cárdenas and Giacometti and many others. He returns to Rome, where he meets Afro, Burri, Guerrini and other artists living in Rome. He works for various established architects, and with a group of young companions he prepares an entry for the project for the construction of the Chamber of Commerce in Carrara. For the ornamentation of the facade the twenty-two-year-old Berrocal invents a solution of Balaustradas, a work based on eight modules, with which he obtains a number of permutations and combinations that far exceed his 36
Miguel Berrocal
| Miguel Berrocal: Biography | 1981-83
brings the best-known sculptors of the time to Verona, including Miró, Dalí, Magritte, De Chirico, Lalanne, Lam, Matta, Duchamp-Villon, Ipoustéguy, César, Étienne Martin, Peñalba and many others. His sculptural exploration leads him to experiment constantly with new techniques and materials. Thanks to his scientific training, he succeeds in applying to art technologies previously used only in the most advanced sectors of industry. This is how he begins the experiment of multiple editions this year, making 200 copies of the sculpture María de la O. 1964-65 He exhibits as a sculptor in the Spanish Pavilion at the XXXII Biennale di Venezia, where the Belgian collector Baron Lambert acquires Mercedes for his collection. Jules Engel makes the film Torch and Torso, the first in an extensive range of films about Berrocal and his work (films and videos have been produced in European, American and Japanese editions), which is presented at the Museum of Modern Art in New York and receives numerous prizes. During his stay in New York, in Lipchitz’s studio he learns about the Shaw process, a lost wax system for casting in porcelain. Despite considerable difficulties and resistance, after some years he succeeds in importing this technique to Italy and applying it. It revolutionises the world of artistic casting because it permits lost wax casting in bronze, significantly reducing costs and times and guaranteeing high quality and fidelity to the original. He teaches Technique of Materials at the Hochschule für bildende Künste in Hamburg. He selects Thomas as his dealer in Germany and presents his first exhibition in Munich.
requirement, which is to make each of the balustrades of the building different from all the others. 1957-59 He exhibits his first sculptures in wrought iron at the Galleria La Medusa, in Rome. The works that he produces during the summer in the studio that he rents in Mougins on the Côte d’Azur conclude his cycle of activity as a painter. On this occasion he succeeds in being received by Picasso at La Californie. He returns to Rome and in future concentrates on sculpture. Works made in this period include La Boîte découpée, Sarcophage and Grand Torse, which mark the transition from the analysis of the problem of filled and empty space and the multiplicity of positions of a single sculpture to the problem of the combinatorial possibility of different volumes. 1960-61 After taking a decision to devote himself exclusively to sculpture, he has a house/studio built in Crespières (near Paris) to a design by Le Corbusier. An
important first exhibition at the Galleria Apollinaire in Milan, for which he signs his work definitively as Berrocal. Bruno Lorenzelli, a well-known director of an art gallery in Bergamo, becomes his first dealer. Works produced in this period include Torso Benamejí and Torso Her, first made in plaster and wood and then cast in bronze and aluminium respectively. 1962 A year full of events and important decisions. His exhibitions include shows with Ipoustéguy and Müller in New York at the Albert Loeb Gallery (Loeb henceforth acts as his dealer in the United States) and his important first solo exhibition in Paris at the Galerie Kriegel (Kriegel becomes a very close friend and acts as his dealer in France for many years). On his way to the Biennale di Venezia, in his continual search for foundries he stops at Verona, where he finds a small foundry that is willing to cast his sculptures. Together, they embark on an adventure that is to make Verona and its foundries one of the most important centres for the casting of contemporary art in Europe. In addition to his own work, Berrocal
1966-67 The need to find better foundries obliges him to shuttle every week between Paris and Verona, where he decides to settle definitively. After remaining in the city for a while, he moves to Negrar, where he still lives. His sculpture becomes increasingly complex. The search for a “fourth dimension” becomes evident in Adamo Secundus and David, small works with complex possibilities of disassembly. The sculptures of this period are so successful that in the USA they acquire the status of “conversation pieces”. Numerous solo and group exhibitions in museums in Europe and the United States. In an exhibition at the Gimpel Gallery in London the dealer refuses to exhibit the prototype of Romeo e Giulietta, on the pretext that it is too cheap and the number of copies is excessive in relation to its quality. During this period he meets the collector Paolo Marzotto and his wife Florence, who henceforth follow his work attentively and with whom he maintains a brotherly friendship. 1968 He is made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture, André Malraux. German television makes a documentary about Negrar. He exhibits at the Palais des Beaux-Arts in Brussels, where he meets Henry Moore and Baron Lambert, the first of the considerable number of his devoted Belgian collectors and friends. Colonel Marcel Stal becomes his dealer. Exhibition at the Badischer Kunstverein in Karlsruhe. 1969 The successful series of exhibitions in private galleries begun in 1968 continues (Frankfurt, Geneva, Paris, New York, Milan and Hanover, among others). This year he finally produces Romeo e Giulietta, using the technique of injection casting, which for the first time enables him to make 2000 copies of a 37
Miguel Berrocal
Grand Prize of Honour. He visits Brazil, Peru and Venezuela and exhibits in Caracas. On the basis of the experience of the Monumento a Picasso, he undertakes a new series of monumental works, including Richelieu Big, Almudena, Dalirium tremens, Torso C. Also produced in this period are the editions of Il Cofanetto, a tribute to Romeo and Juliet and the city of Verona, and Paloma Box, a tribute to Paloma Picasso. He goes back to painting and does a series of gouaches and numerous painting variations on recurrent themes in his sculptures (early sculptures, torsos, female figures, reclining nudes, heads, still-lifes). During a journey in the Belgian Ardennes he finds a group of old anvils, which he buys and which later (1982) give rise to the series Desperta Ferro and Almogávares and Las Mujeres pasadas por la piedra, the last of which has not yet been completed. With the Spanish architect Ricardo Bofill he studies a project for a sculptural work 1 kilometre long on the border between France and Spain, and also a solution for the trou des Halles in Paris (these ambitious architectural projects have not been carried out). He gives a talk at the École d’Art de Luminy in Marseilles.
sculpture. He uses similar techniques to make Goliath (consisting of 80 pieces) and Richelieu (61 pieces). He works on the book/object Petite Rapsodie de la main, with text by Loys Masson. Important works produced during this period are Sainte Agathe II, Cleopatra and Alfa e Romeo, a work specifically studied as an illustration for Petite Rapsodie de la main. Mini David begins the series of five mini-sculptures produced in quantities of 10,000 copies, using the automatic injection technique, a subtle procedure hitherto used exclusively in industrial manufacture. The Galería Iolas Velasco in Madrid presents his sculptures in Spain for the first time. Various well-known dealers create Multicetera, a company for the distribution of the mini-sculptures. He receives the Gold Medal from the Presidency of the Italian Republic for “Metal as a pure expression of art” at the V Biennale del Metallo in Gubbio. 1970-71 Among the numerous exhibitions in this period, of particular interest are the ones at the Musée des Beaux-Arts in La Chaux-de-Fonds (Switzerland), the Ulmer Museum (Ulm, Germany), the Centro Internazionale di Ricerche Estetiche in Turin (which awards him the institution’s Gold Crown), and the Palazzo dei Diamanti in Ferrara. He meets Cristina Blais de Bragança, whom he marries a few years later and who thereafter accompanies him in his life and in his work. 1972 Presentation of the mini-sculptures in gold and silver at the Internationale Kunstmesse in Basel. Retrospective exhibition at the Palazzo delle Prigioni Vecchie in Venice and the Espace Pierre Cardin in Paris. The city of Málaga gives him a commission for a large monument as a tribute to Picasso. 1973-75 He represents Spain at the XXII Bienal de São Paulo, where he is awarded the
1976-78 The Monumento a Picasso is exhibited at the Rond-Point of the Champs Élysées in Paris before its definitive placement in Málaga. Birth of his first child, Carlos, in 1976. Works produced in this period include La Maja, Manolete, Metamorehorses, etc. An unforgettable experience in this period is the great didactic exhibition Les mains regardent, organised at the Centre Georges Pompidou and intended for the blind, in which the work Torero is exhibited and “touched” by thousands of people. Visit to the United States. Inauguration of Espace Berrocal at the Centre Artcurial in Paris. In 1978 his second son, Beltrán, is born. 1979 The circuit of museums, galleries and collectors functions actively, and the use of casting for the production of sculptures now becomes very important. Berrocal declines an increasing number of invitations in order to concentrate on his work, which becomes more varied. Works produced in this period include Caballo Casinaide and Omaggio ad Arcimboldo. 1980 Further exhibitions in Caracas and at the Palazzo delle Prigioni Vecchie in Venice. He is the only artist invited to the “I Symposium sur la Sculpture Éditée” in Brussels, where he participates in a seminar on multiplied sculpture together with students from the University of Louvaine. He completes Astronauta, a tribute to Jules Verne, composed by 21 different pieces of jewellery. 1981 Return to colour: he paints a series of gouaches and silkscreen prints and makes two large patchwork hangings for Vogue International. Exhibition in New York, which he visits. Andy Warhol does his portrait. For the centenary of Picasso’s birth he makes a medal and a plaque for the artist’s birthplace, which has now become a museum. He makes Hoplita, which contains the famous Rubik’s cube, in a tribute to the Hungarian mathematician. Various exhibitions in Europe.
| Miguel Berrocal: Biography | 1981-83
1982-83 First exhibition in Kuwait. The series Desperta Ferro, ten pieces on a theme that anticipates the Almogávares, and completion of Neon (a sculpture with computercontrolled neon circuits, which give life to countless combinatorial possibilities of equestrian figures). First collaboration with the architect Núñez Yanowski, for the design for the Place Picasso in Marne-la-Vallée (Paris), which leads to the creation of Sarabande pour Picasso. Visit to New York, where he meets the mayor of the city, Mr Koch, who shows great interest in the possibilities of Berrocal’s sculpture in an urban context. 1984-85 Exhibitions in Brussels, Bruges and Paris. The Spanish Ministry of Culture devotes a major exhibition to him at the Palacio de Velázquez in Madrid. An exhaustive historical and critical catalogue is published to accompany the exhibition, with critical texts by Julián Gállego and Franco Passoni. After Madrid, the exhibition is presented at the Palau Meca in Barcelona and at Le Botanique in Brussels during Europalia. After an absence of 25 years, Berrocal returns to Algaidas, where he was born, and where, in 1984, his fellow-citizens have established the Asociación Amigos de Berrocal in order to create a documentation centre and a museum devoted to him. 1986-90 A period characterised by the installation of various urban monuments: Sarabande pour Picasso (Paris), Fuente del Limonar, (a project for a garden with a fountain in Málaga), Torso Es (Olympic Sculpture Park in Seoul). A substantial monograph is published in French by Éditions de la Différence in Paris, with a critical essay by Jean-Louis Ferrier. First exhibition at the museum in Villanueva de Algaidas, in conjunction with the award of the status of “Favourite Son” of his native town. He designs the sets and costumes for Bizet’s Carmen at The Arena in Verona. 1991-93 He receives a commission for three monumental works for the Spanish celebrations of 1992 (the years of the Exposición Universal in Seville, the Olympics in Barcelona, and the nomination of Madrid as Cultural Capital of Europe). As a consequence he produces Doña Elvira (a sculpture 6 metres high, intended for the Auditorium on the Isla de la Cartuja in Seville), Manolona (a sculpture 14 metres high erected in the Parque Juan Carlos I in Madrid) and Citius, Altius, Fortius (a torso 4 metres high presented at the Exposición Universal in Seville before its definitive placement at the entrance to the Musée Olympique in Lausanne in 1993). He is nominated as a Goodwill Ambassador for UNESCO. In order to respond to the challenge of the technical difficulties encountered when making his monumental sculptures, Berrocal carries out research into new materials and techniques, not hesitating to turn to the most highly specialised industrial sectors in order to learn avant-garde technologies (the three monumental works produced in this period are made using Kevlar and carbon fibre). The application to sculpture of technologies never before used for artistic purposes is significant in terms of the profound symbiosis between art, science and technology that has always accompanied Berrocal’s sculptural research. 1994 In July, inauguration in Seville of the monument Torso de Luces, made for the company Sevillana de Electricidad to celebrate its centenary. In the autumn, a retrospective of multiples at the Cankarjev Dom cultural centre in Ljubljana. 38
Miguel Berrocal
1995 Inauguration of the Fuente de la Paz in Ibiza. Exhibition Berrocal: Sculture e Disegni at the Museo d’Arte Moderna e Contemporanea, Palazzo Forti, in Verona.
and sculpture. On the occasion of that retrospective an important monograph is published. The book was illustrated with photographs of Roberto Bigano and included texts of high intellectual soundness.
1996 From June to September, exhibition at the Barchessa Rambaldi, Bardolino. Installation of three large monumental sculptures, Pepita in Bordeaux, Alcudia in the campus of the Polytechnic University in Valencia, and Marcelisa in the Marselisborg sculpture park in Denmark, respectively.
2003 The retrospective that took place in Valencia continues in spring, in this case in the city of Malaga at the “Episcopal Palace”. It is organized by the Unicaja Benefit Society. Several large size sculptures are presented, such as the wooden Opus 128 Richelieu Big, with its two meters in height and able to be taken down to 61 pieces. Several monographic and collective exhibits show the presence of Berrocal in Europe. That is the case of his participation in Milan, on the occasion of the Furniture Fair, as well as in Belgium, Venice, Frankfurt and Rome. The collective of jewellery of the artist presented at the Château de Seneffe in Belgium with the title “Être ou ne pas être: Peintres ou Sculpteurs? Les bijoux des plus grands” receives a great response from critics and the public.
1997-98 Takes part at the following exhibitions: VI Biennale di Scultura in Monte Carlo Venice, Piccole sculture, grandi scultori Musée Olympique in Lausanne, Berrocal, Forme et Mouvement, catalogue by Pierre Restany y Robert C. Morgan 1999 He appears at the ARCO art fair in Madrid, and at the same time in a large solo exhibition which is presented at the Centro Cultural Conde Duque in Madrid and then travels to Oviedo, where it is seen at the Teatro Campoamor from 15 October to 8 December, and to Málaga, where it is shown at the exhibitions rooms of Unicaja. For the City Council of Madrid Illustrates Emilio Prado’s book “The Mystery of Water”. In September he takes part in the international exhibition of sculpture and installations OPEN’999 at the Lido in Venice, with El Diestro, a work 3 metres high. In October he presents a solo exhibition at the Galerie Artcurial in Paris. In December he has a large solo exhibition at the Galleria Ghelfi in Verona. 2000 - 2001 He takes part in Art Fair Miami and the ARCO art fair in Madrid. Laying of the foundation stone for the Museo Berrocal in Villanueva de Algaidas. Solo exhibition in Málaga, and another exhibition at the Fondation Veranneman in Belgium. He gives talks in Spain at the University of the Basque Country, Faculty of Fine Arts, Bilbao and the Conference on the Teaching and Learning of Mathematics, Thales, in San Fernando. Group exhibitions in Hamburg and Como and in several collective and international exhibits such as: Intenational Fair of Comteporary Art (ARCO) in collaboration with the Malaga Provincial Council; the exhibit “Golden Imagination: Artists, Silver and Goldsmiths in the Second Half of Italy’s 20th Century”, in Ancona; the monographic exhibit: “Return to Classicism: The Fusion of Art and Science” at the Gallery of the City Hall of his natal village, Villanueva de Algaidas; the “36th Abitare el Tempo a Verona”, and last, a extensive personal retrospective at the Spazio Creativo Cardin in Venice. 2002 He takes part in the group exhibition: Scultori a Verona 1900–2000, at the Palazzo Forti in Verona, and at the Mostra Internazionale di Arte Contemporanea in Vicenza. In spring he is involved in an itinerant exhibit with the name “Ecume: Autour de la monnaie unique” which takes the design of the “Euro” as motif and is organized by the French Government; The Swinger Art Gallery presents the exhibition “Berrocal Scultorea”, and that summer he prepares another extensive exhibit at the Institute Valencià d´Art Modern (IVAM) that included drawings
2004 During this year he shows various works at the International Fair of Contemporary Art (ARCO) in Madrid. He also takes part in the remarkable exhibit that unified art and science organized by the University of Aquila at the Abbey of Saint Maria di Collemaggio and which bore the title “Forme Animali –Warning Colours”. He also participates at the Milan MIART. In June he takes part in the collective exhibit “Objects of Desire. Objects of the Artist” at the Elvira Conzales Gallery of Madrid. In June and August, an open-air exhibit of monumental sculptures held in the magnificent Mediterranean landscape of Cap Roig in the Costa Brava was attended by more than 150.000. people. In that show the work Melilla is presented for the first time. The piece will be permanently placed at the Plaza de las Cuatro Culturas in the city of Melilla. At the end of this year Berrocal decides to move to Andalusia once and for all. He establishes his home in his natal village, Villanueva de Algaidas, in the province of Malaga. There he manages the building work of his new studio: an immense warehouse among olive trees, the ideal place to hold the oeuvre his insatiable appetite for knowledge, fantasy and versatile curiosity has accumulated during more than fifty years of profession. 2005 He takes almost the whole year writing and editing his memoirs and preparing two other publications: the general catalogue of his sculptures and the catalogue of painting, drawing and graphic works. With other ten sculptors of different nationalities, he participates in the symposium “Creator Vesevo” summoned by the city of Herculano, close to Naples. In fall, a powerful and monumental torso, made out of volcanic stone, is placed at the hillside of Mount Vesuvio. He starts his moving from Villa Rizzardi de Negrar in the Valpolicella, in which Berrocal lived and worked for forty years. 2006 In February he finishes “Large Leaning Nude” out of white Kevlar. Nowadays it sticks out as a white cloud over the beautiful landscape of Lake Como.
| Miguel Berrocal: Biography | 1981-83
That year he finishes writing his memoirs. He works enthusiastically in drawings and sketches for several new works to be built at his studio. Miguel Berrocal died May 31 in Antequera in the plenitude of his artistic creativity. 2007 On the 22th of November the Fundación Escultor Berrocal para las Artes was constituted in Madrid. The Foundation was constituted by the heirs of Miguel berrocal fulfilling the will expressed by himself and putting an end to the project which the artist started in life. The purposes of this institution are the conservation, the study and the diffusion of Miguel Berrocal’s work as well as the contribution for the development and progress of the Culture and the Arts. The Foundation has in mind expand part of its activities from the last artist’s studio in Villanueva de Algaidas, Málaga.
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Miguel Berrocal
| Selected Public Collections | 1933-2006
opus 250-259 - Los Almogávares
Selected Public Collections
Albright-Knox Art Gallery, Buffalo, New York
Musées Royaux des Beaux Arts de Belgique, Bruxelles
Auditorio de la musica de la Cartuja, Sevilla
Musées Royaux des Beaux Arts de Belgique, Bruxelles
Ayuntamiento de Huelva
Museo Nacional Centro de Arte Reina Sofia, Madrid
Ayuntamiento de Madrid
Museum Boymans-va Beuningen, Rotterdam
Ayuntamiento de Málaga, Málaga
Museum of Contemporary Art, Los Angeles
Ayuntamiento de Oviedo, Asturias
Museum Ludwig, Köln
Ayuntamiento de Villaneuva de Algaidas, Málaga
Museum of Modern Art, New York
Ayuntamiento de Zaragoza
Neue Nationalgalerie, Berlin
Beelden aan Zee Museum, Scheveningen
Oficina de Turismo Español, Roma
Fonds Cantonal de Décoration et d’Art Visuel, Genève
Philadelphia Museum of Art, Philadelphia
Camera di Commercio di Carrara, Carrara
Rathaus, Ulm
Fundación Juan March, Madrid
Sprengel Museum, Hannover
Galleria Nazionale d’Arte Moderna, Roma
Staatsgalerie Stuttgart, Stuttgart
Hamburger Kunstahalle, Hamburg
Stadtische Kunsthalle, Mannheim
Hirshborn Museum and Sculpture Garden, Washington D.C.
Univeristy of Michigan- Museum of Art, Ann Arbor
International Sculpture Museum, Olympic Park, Séoul
Victoria and Albert Museum, London
Israel Museum, Jerusalem Jewish Museum, New York Mairie de Noisy-Le-Grand, Marne-la-Vallée Musée d’Art Moderne de St-Etienne, St-Etienne Musée d’Art Moderne de la Ville de Paris, Paris Musée des Beaux-Arts, La Chaux-de-Fonds Musée Olympique, Lausanne 40
Miguel Berrocal
| Awards | 1933- 2006
opus 250-259 - Los Almogávares
Awards
1955
Medaille de bronze de la “Première Biennale di Alexandrie – Pays de la
1988
Goodwill Ambassador, UNESCO, Paris
Méditerranée
1989
Académico correspondiente de la Real Academia de Bellas Artes de San Fernando, Madrid
1966
Grand Prix de Sculpture de la Biennale de Paris
1967
Medaglia d’oro del VII° Concorso Internazionale del Bronzetto, Padova
1990
Accademico dell’Accademia Nazionale di San Luca, Roma
1968
Chevalier de l’Ordre des Arts et des Lettres de la République Française
1993
Medalla de Oro de Andalucía, Sevilla
1969
Medaglia d’oro della Presidenza della Repubblica Italiana per “Il
1994
Academico de Honor de la Réal Academia de Bellas Artes Santa Isabel de Hungría, Sevilla
metallo come pura espressione d’arte” Va Biennale d’Arte del Metallo,Gubbio 1970
2000
UNESCO,Verona
Medalla de oro del Ateneo de Mälaga Corona d’onore dell’ International Aesthetic Research, Torino
1973
Gran Premio de Honor da Biennal de Saõ Paolo.
1976
Accademico associato dell’Accademia Tiberina di Roma
1977
Medaglia d’Oro della XXXIIIaMostra Internazionale
Scientific Council, International Institute for Opera and Poetry.
2002
Cruz de Plata, Agrupación Española de Fomento Europeo, Barcelona
dell’ Arredamento-M.I.A., Monza 1981
Cambio 16, X° Aniversário, “Figura de la Decada” ,Madrid
1984
ABC de Oro del periodico ABC, Madrid
1985
Officier de l’Ordre des Arts et des Lettres de la République Française. Medalla de Honor “ VictorioMacho” de la Asiciación de Escultores y Artistas Españoles. Medalla de Honor “ VictorioMacho” de la Asiciación de Escultores y Artistas Españoles.
1987
Commendatore della Repubblica Italiana Academico numerario de la Real Academia de Bellas Artes Santa Isabel de Hungría, Sevilla 41
Miguel Berrocal
| Fundación Escultor Berrocal para las Artes | 2007
Fundación Escultor Berrocal para las Artes
On the 22nd of November 2007 the Fundacion Escultor Berrocal Para Las Artes (Foundation sculptor Berrocal for the Arts) has been constituted in Madrid, Spain. The Foundation has been created by the heirs of Miguel Berrocal, fulfilling so his express desires and completing the project that the artist started while still alive. The Foundation will develop its activities from Spain with international projection. It is leaded by the widow of the sculptor Mrs Cristina de Braganza de Berrocal. The Institution aims at the conservation, the research and diffusion of Miguel Berrocal’s works, as well as the contribution to the development and progress of Culture and Arts, Science and Technology in all its forms. for information
berrocal.net fundacion@berrocal.net
The last atelier/workshop of Miguel Berrocal, and currently the Foundation’s headquarters in Villanueva de Algaidas, Malaga, Spain.
Berrocal Museum, still a work in progress, in Villanueva de Algaidas, Malaga, Spain.
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